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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : P : Pressfield, Steven
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Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.
Thus reads an ancient stone at Thermopylae in northern Greece, the site of one of the world's greatest battles for freedom. Here, in 480 B.C., on a narrow mountain pass above the crystalline Aegean, 300 Spartan knights and their allies faced the massive forces of Xerxes, King of Persia. From the start, there was no question but that the Spartans would perish. In Gates of Fire, however, Steven Pressfield makes their courageous defence--and eventual extinction-- unbearably suspenseful. In the tradition of Mary Renault, this historical novel unfolds in flashback. Xeo, the sole Spartan survivor of Thermopylae, has been captured by the Persians and Xerxes himself presses his young captive to reveal how his tiny cohort kept more than 100,000 Persians at bay for a week. Xeo, however, begins at the beginning, when his childhood home in northern Greece was overrun and he escaped to Sparta. There he is drafted into the elite Spartan guard and rigorously schooled in the art of war--an education brutal enough to destroy half the students, but (oddly enough) not without humour: "The more miserable the conditions, the more convulsing the jokes became, or at least that's how it seems," Xeo recalls. His companions-in-arms are Alexandros, a gentle boy who turns out to be the most courageous of all, and Rooster, an angry, half-Messenian youth. Pressfield's descriptions of war are breathtaking in their immediacy. They are also meticulously assembled out of physical detail and crisp, uncluttered metaphor:"The forerank of the enemy collapsed immediately as the first shock hit it; the body-length shields seemed to implode rearward, their anchoring spikes rooted slinging from the earth like tent pins in a gale. The forerank archers were literally bowled off their feet, their wall-like shields caving in upon them like fortress redoubts under the assault of the ram. The valour of the individual Medes was beyond question, but their light hacking blades were harmless as toys; against the massed wall of Spartan armour, they might as well have been defending themselves with reeds or fennel stalks."
Alas, even this human barrier was bound to collapse, as we knew all along it would. "War is work, not mystery," Xeo laments. But Pressfield's epic seems to make the opposite argument: courage on this scale is not merely inspiring but ultimately mysterious. -- Marianne Painter, Amazon.com
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If readers of epic historical fiction are influenced in their literary choices by successful films in the genre, then the timing of Steven Pressfield's Tides of War could not be better, with the cinematic release of Ridley Scott's Gladiator. Ironically, the very qualities that distinguish Scott's movie are here in greater concentration: tremendous historical sweep; strong, well-defined characters and bloody confrontations. The one area in which Pressfield definitely possesses the edge, though, is the fierce intelligence and rigorous authenticity of his remarkable book. As a picture of the ancient world, it is nigh unbeatable but it is the characterisation of the soldier protagonist Alcibiades (who becomes a central figure in the war between Athens and Sparta) that is Pressfield's greatest achievement.Alcibiades is a brilliantly wrought conflation of ancient and modern sensibilities, the perfect conduit into this savage world. On the battlefield, Alcibiades has never known defeat but his success has created ill feeling among his political opponents in Athens. A trumped-up charge of treason forces him to flee to Sparta, where he engineers a series of military triumphs. However, his heart lies in Athens and, through a series of savage confrontations (both on the battlefield and in the equally dangerous political arena), he moves inexorably towards his unwritten destiny. It will be no surprise to the readers of the equally impressive Gates of Fire that this exuberant panoply of a far-off age is so luminously rendered. --Barry Forshaw
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In historical fiction, the stakes are becoming ever higher. More and more first-rate novels in the genre appear monthly and aficionados can afford to pick and choose. Steven Pressfield has established some copper-bottomed credentials with the vigorously written epics Gates of Fire and Tides of War, and his new novel, Last of the Amazons continues this winning streak. Pressfield's colourful, operatic style may not have the nuance of such progenitors of the genre as Robert Graves, but his populist approach really pays dividends--and without any sacrifice of quality writing. Popular does not have to mean crass, and Pressfield's prose is lively and intelligent, always conjuring for the reader a brilliantly realised picture of the ancient world with maximum vividness.Theseus is Pressfield's protagonist, and the year is 1250 BC; setting out on his dangerous odysseys, the celebrated Athenian monarch (best known for his combat with the monstrous Minotaur) has many close calls with death before taking a fateful decision: he marries the fierce Amazon queen Antiope. His action has disastrous consequences: the fearsome tribe of warrior women who spurn contact with men form a massive army and march to Athens to exact a bloody revenge. Their defeat, of course, was written in the stars, but for a remarkable period, their actions transfixed the Attic world before catastrophe overtook them.
Last of the Amazons has a whole slew of virtues, and it's hard to know where to begin in detailing them. The characterisation, for instance: Theseus is realised with imagination and authority, and his mindset is a clever synthesis of modern and ancient consciousness. The politics, too, are cannily realised, as is the minutiae of everyday life in a much-mythologised era. But it's the bloody action that, perhaps, most compels--this is not a book for the squeamish. Stick with the slightly artificial opening chapters, and you will find yourself swept up in a tale of truly epic proportions.--Barry Forshaw
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Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.Thus reads an ancient stone at Thermopylae in northern Greece, the site of one of the world's greatest battles for freedom. Here, in 480 B.C., on a narrow mountain pass above the crystalline Aegean, 300 Spartan knights and their allies faced the massive forces of Xerxes, King of Persia. From the start, there was no question but that the Spartans would perish. In Gates of Fire, however, Steven Pressfield makes their courageous defence--and eventual extinction--unbearably suspenseful.
In the tradition of Mary Renault, this historical novel unfolds in flashback. Xeo, the sole Spartan survivor of Thermopylae, has been captured by the Persians, and Xerxes himself presses his young captive to reveal how his tiny cohort kept more than 100,000 Persians at bay for a week. Xeo, however, begins at the beginning, when his childhood home in northern Greece was overrun and he escaped to Sparta. There he is drafted into the elite Spartan guard and rigorously schooled in the art of war--an education brutal enough to destroy half the students, but (oddly enough) not without humour: "The more miserable the conditions, the more convulsing the jokes became, or at least that's how it seems," Xeo recalls. His companions in arms are Alexandros, a gentle boy who turns out to be the most courageous of all, and Rooster, an angry, half-Messenian youth.
Pressfield's descriptions of war are breathtaking in their immediacy. They are also meticulously assembled out of physical detail and crisp, uncluttered metaphor:
The forerank of the enemy collapsed immediately as the first shock hit it; the body-length shields seemed to implode rearward, their anchoring spikes rooted slinging from the earth like tent pins in a gale. The forerank archers were literally bowled off their feet, their wall-like shields caving in upon them like fortress redoubts under the assault of the ram.... The valour of the individual Medes was beyond question, but their light hacking blades were harmless as toys; against the massed wall of Spartan armour, they might as well have been defending themselves with reeds or fennel stalks.
Alas, even this human barrier was bound to collapse, as we knew all along it would. "War is work, not mystery," Xeo laments. But Pressfield's epic seems to make the opposite argument: courage on this scale is not merely inspiring but ultimately mysterious. --Marianne Painter, Amazon.com
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Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.Thus reads an ancient stone at Thermopylae in northern Greece, the site of one of the world's greatest battles for freedom. Here, in 480 B.C., on a narrow mountain pass above the crystalline Aegean, 300 Spartan knights and their allies faced the massive forces of Xerxes, King of Persia. From the start, there was no question but that the Spartans would perish. In Gates of Fire, however, Steven Pressfield makes their courageous defence--and eventual extinction--unbearably suspenseful.
In the tradition of Mary Renault, this historical novel unfolds in flashback. Xeo, the sole Spartan survivor of Thermopylae, has been captured by the Persians, and Xerxes himself presses his young captive to reveal how his tiny cohort kept more than 100,000 Persians at bay for a week. Xeo, however, begins at the beginning, when his childhood home in northern Greece was overrun and he escaped to Sparta. There he is drafted into the elite Spartan guard and rigorously schooled in the art of war--an education brutal enough to destroy half the students, but (oddly enough) not without humour: "The more miserable the conditions, the more convulsing the jokes became, or at least that's how it seems," Xeo recalls. His companions in arms are Alexandros, a gentle boy who turns out to be the most courageous of all, and Rooster, an angry, half-Messenian youth.
Pressfield's descriptions of war are breathtaking in their immediacy. They are also meticulously assembled out of physical detail and crisp, uncluttered metaphor:
The forerank of the enemy collapsed immediately as the first shock hit it; the body-length shields seemed to implode rearward, their anchoring spikes rooted slinging from the earth like tent pins in a gale. The forerank archers were literally bowled off their feet, their wall-like shields caving in upon them like fortress redoubts under the assault of the ram.... The valour of the individual Medes was beyond question, but their light hacking blades were harmless as toys; against the massed wall of Spartan armour, they might as well have been defending themselves with reeds or fennel stalks.
Alas, even this human barrier was bound to collapse, as we knew all along it would. "War is work, not mystery," Xeo laments. But Pressfield's epic seems to make the opposite argument: courage on this scale is not merely inspiring but ultimately mysterious. --Marianne Painter, Amazon.com
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Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.
Thus reads an ancient stone at Thermopylae in northern Greece, the site of one of the world's greatest battles for freedom. Here, in 480 B.C., on a narrow mountain pass above the crystalline Aegean, 300 Spartan knights and their allies faced the massive forces of Xerxes, King of Persia. From the start, there was no question but that the Spartans would perish. In Gates of Fire, however, Steven Pressfield makes their courageous defence--and eventual extinction-- unbearably suspenseful. In the tradition of Mary Renault, this historical novel unfolds in flashback. Xeo, the sole Spartan survivor of Thermopylae, has been captured by the Persians and Xerxes himself presses his young captive to reveal how his tiny cohort kept more than 100,000 Persians at bay for a week. Xeo, however, begins at the beginning, when his childhood home in northern Greece was overrun and he escaped to Sparta. There he is drafted into the elite Spartan guard and rigorously schooled in the art of war--an education brutal enough to destroy half the students, but (oddly enough) not without humour: "The more miserable the conditions, the more convulsing the jokes became, or at least that's how it seems," Xeo recalls. His companions-in-arms are Alexandros, a gentle boy who turns out to be the most courageous of all, and Rooster, an angry, half-Messenian youth. Pressfield's descriptions of war are breathtaking in their immediacy. They are also meticulously assembled out of physical detail and crisp, uncluttered metaphor:"The forerank of the enemy collapsed immediately as the first shock hit it; the body-length shields seemed to implode rearward, their anchoring spikes rooted slinging from the earth like tent pins in a gale. The forerank archers were literally bowled off their feet, their wall-like shields caving in upon them like fortress redoubts under the assault of the ram. The valour of the individual Medes was beyond question, but their light hacking blades were harmless as toys; against the massed wall of Spartan armour, they might as well have been defending themselves with reeds or fennel stalks."
Alas, even this human barrier was bound to collapse, as we knew all along it would. "War is work, not mystery," Xeo laments. But Pressfield's epic seems to make the opposite argument: courage on this scale is not merely inspiring but ultimately mysterious. -- Marianne Painter, Amazon.com
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In historical fiction, the stakes are becoming ever higher. More and more first-rate novels in the genre appear monthly and aficionados can afford to pick and choose. Steven Pressfield has established some copper-bottomed credentials with the vigorously written epics Gates of Fire and Tides of War, and his new novel, Last of the Amazons continues this winning streak. Pressfield's colourful, operatic style may not have the nuance of such progenitors of the genre as Robert Graves, but his populist approach really pays dividends--and without any sacrifice of quality writing. Popular does not have to mean crass, and Pressfield's prose is lively and intelligent, always conjuring for the reader a brilliantly realised picture of the ancient world with maximum vividness.Theseus is Pressfield's protagonist, and the year is 1250 BC; setting out on his dangerous odysseys, the celebrated Athenian monarch (best known for his combat with the monstrous Minotaur) has many close calls with death before taking a fateful decision: he marries the fierce Amazon queen Antiope. His action has disastrous consequences: the fearsome tribe of warrior women who spurn contact with men form a massive army and march to Athens to exact a bloody revenge. Their defeat, of course, was written in the stars, but for a remarkable period, their actions transfixed the Attic world before catastrophe overtook them.
Last of the Amazons has a whole slew of virtues, and it's hard to know where to begin in detailing them. The characterisation, for instance: Theseus is realised with imagination and authority, and his mindset is a clever synthesis of modern and ancient consciousness. The politics, too, are cannily realised, as is the minutiae of everyday life in a much-mythologised era. But it's the bloody action that, perhaps, most compels--this is not a book for the squeamish. Stick with the slightly artificial opening chapters, and you will find yourself swept up in a tale of truly epic proportions.--Barry Forshaw
-
Go tell the Spartans, stranger passing by, that here obedient to their laws we lie.Thus reads an ancient stone at Thermopylae in northern Greece, the site of one of the world's greatest battles for freedom. Here, in 480 B.C., on a narrow mountain pass above the crystalline Aegean, 300 Spartan knights and their allies faced the massive forces of Xerxes, King of Persia. From the start, there was no question but that the Spartans would perish. In Gates of Fire, however, Steven Pressfield makes their courageous defence--and eventual extinction--unbearably suspenseful.
In the tradition of Mary Renault, this historical novel unfolds in flashback. Xeo, the sole Spartan survivor of Thermopylae, has been captured by the Persians, and Xerxes himself presses his young captive to reveal how his tiny cohort kept more than 100,000 Persians at bay for a week. Xeo, however, begins at the beginning, when his childhood home in northern Greece was overrun and he escaped to Sparta. There he is drafted into the elite Spartan guard and rigorously schooled in the art of war--an education brutal enough to destroy half the students, but (oddly enough) not without humour: "The more miserable the conditions, the more convulsing the jokes became, or at least that's how it seems," Xeo recalls. His companions in arms are Alexandros, a gentle boy who turns out to be the most courageous of all, and Rooster, an angry, half-Messenian youth.
Pressfield's descriptions of war are breathtaking in their immediacy. They are also meticulously assembled out of physical detail and crisp, uncluttered metaphor:
The forerank of the enemy collapsed immediately as the first shock hit it; the body-length shields seemed to implode rearward, their anchoring spikes rooted slinging from the earth like tent pins in a gale. The forerank archers were literally bowled off their feet, their wall-like shields caving in upon them like fortress redoubts under the assault of the ram.... The valour of the individual Medes was beyond question, but their light hacking blades were harmless as toys; against the massed wall of Spartan armour, they might as well have been defending themselves with reeds or fennel stalks.
Alas, even this human barrier was bound to collapse, as we knew all along it would. "War is work, not mystery," Xeo laments. But Pressfield's epic seems to make the opposite argument: courage on this scale is not merely inspiring but ultimately mysterious. --Marianne Painter, Amazon.com
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